- Bebe Rexha has signed with Creative Artists Agency (CAA) for worldwide live music and touring representation, with Chris Buckingham-Ibbs and Jenna Adler serving as her agents.
- The move ends her run with United Talent Agency (UTA), where Alana Gitt, Riley Folsom, and Jbeau Lewis previously handled her touring.
- She continues with Timeline Management for management, and MBC PR for UK publicity.
- The signing follows the June 12 release of her visual album Dirty Blonde, led by singles "New Religion" with Faithless and "Sad Girls" with David Guetta.
Bebe Rexha has signed with Creative Artists Agency (CAA) for worldwide live music and touring representation. Agents Chris Buckingham-Ibbs and Jenna Adler will now handle her bookings.
The deal closes out her run at United Talent Agency (UTA), where Alana Gitt, Riley Folsom, and Jbeau Lewis previously ran her touring business.
The timing lines up with Rexha’s busiest creative stretch in years. Her fourth studio album, Dirty Blonde, dropped June 12 as a visual album, pairing every track with its own video.
Lead single “New Religion,” a collaboration with English dance act Faithless, came out in March, followed by “Sad Girls” with David Guetta in May. She played Irving Plaza in New York just days before the CAA news broke.
CAA’s touring roster has stayed busy this year too, recently landing Jo Dee Messina for worldwide representation ahead of her 30th-anniversary tour, reuniting Florida Georgia Line after their CMA Fest comeback, and adding Valkyrae for representation.
Rexha stays with Timeline Management for management, and keeps MBC PR for UK publicity.
Takeaways
This reads less like an exit and more like a scale-up. Rexha just dropped her most ambitious project yet, a full visual album, and pairing that with CAA’s global touring network signals a push for international growth, not another lap around the same U.S. rooms.
Keeping Timeline Management and MBC PR in place while only swapping the booking agency tells you the rest of her camp is happy where it sits, this is a targeted swap, not a teardown.
Will CAA’s worldwide reach finally open up bigger international touring markets for Rexha? Does Dirty Blonde‘s visual-album format hint at a longer-term shift toward multimedia rollouts for future eras?
